Freddie Francis

Director, Director of photography, Producer
Freddie Francis started his career as an apprentice to a still photographer and at age 17 began in motion pictures as a clapper boy. His first shot at cinematography came with the British Army Kinematographic unit ... Read more »
Born: 12/21/1917 in London, England, GB

Filmography

Camera, Film, & Tape (40)

The Straight Story 1999 (Movie)

(Director of Photography)

Rainbow 1997 (Movie)

(Director of Photography)

A Life in the Theatre 1993 - 1994 (TV Show)

Director of Photography

Princess Caraboo 1994 (Movie)

(Director of Photography)

Brenda Starr 1992 (Movie)

(Director of Photography)

School Ties 1992 (Movie)

(Director of Photography)

Cape Fear 1991 (Movie)

(Director of Photography)

The Man in the Moon 1991 (Movie)

(Director of Photography)

Glory 1989 (Movie)

(Director of Photography)

Her Alibi 1989 (Movie)

(Director of Photography)

Clara's Heart 1988 (Movie)

(Director of Photography)

Memed My Hawk 1987 (Movie)

(Director of Photography)

Code Name: Emerald 1985 (Movie)

(Director of Photography)

The Jigsaw Man 1983 (Movie)

(Director of Photography)

The French Lieutenant's Woman 1981 (Movie)

(Director of Photography)

The Elephant Man 1980 (Movie)

(Director of Photography)

Night Must Fall 1964 (Movie)

(Director of Photography)

Saturday Night and Sunday Morning 1961 (Movie)

(Director of Photography)

The Innocents 1961 (Movie)

(Director of Photography)

Never Take Sweets From a Stranger 1960 (Movie)

(Director of Photography)

Sons and Lovers 1960 (Movie)

(Director of Photography)

Room at the Top 1959 (Movie)

(Director of Photography)

The Battle of the Sexes 1959 (Movie)

(Director of Photography)

Virgin Island 1959 (Movie)

(Director of Photography)

Hell in Korea 1956 (Movie)

(Director of Photography)

Moby Dick 1956 (Movie)

photography 2nd unit (Photography)

Time Without Pity 1956 (Movie)

(Director of Photography)

The Sorcerer's Apprentice 1955 (Movie)

(Camera Operator)

Beau Brummell 1954 (Movie)

(Camera Operator)

Beat the Devil 1953 (Movie)

(Camera Operator)

Lovers, Happy Lovers! 1953 (Movie)

(Camera Operator)

Moulin Rouge 1953 (Movie)

(Camera Operator)

Gone to Earth 1951 (Movie)

(Camera Operator)

Tales of Hoffmann 1951 (Movie)

(Camera Operator)

Outcast of the Islands 1950 (Movie)

(Camera Operator)

Mine Own Executioner (Movie)

(Camera Operator)

The Executioner's Song (TV Show)

Director of Photography

The Macomber Affair (Movie)

(Cinematographer)

The Plot to Kill Hitler (TV Show)

Director of Photography

The Small Back Room (Movie)

(Camera Operator)
Director (21)

The Evil of Frankenstein 2014 (Movie)

(Director)

Last Respects 1995 - 1996 (TV Show)

Director

The Doctor and the Devils 1985 (Movie)

(Director)

Legend of the Werewolf 1974 (Movie)

(Director)

The Ghoul 1974 (Movie)

(Director)

Son of Dracula 1973 (Movie)

(Director)

Craze 1972 (Movie)

(Director)

Tales That Witness Madness 1972 (Movie)

(Director)

Tales From The Crypt 1971 (Movie)

(Director)

The Creeping Flesh 1971 (Movie)

(Director)

Dracula Has Risen From the Grave 1969 (Movie)

(Director)

Mumsy, Nanny, Sonny & Girly 1969 (Movie)

(Director)

Trog 1969 (Movie)

(Director)

Man in a Suitcase 1967 - 1968 (Tv Show)

Director

Torture Garden 1968 (Movie)

(Director)

The Skull 1964 (Movie)

(Director)

Vengeance 1964 (Movie)

(Director)

Nightmare 1962 (Movie)

(Director)

Paranoiac 1961 (Movie)

(Director)

Nightmare (Movie)

(Director)
Writer (1)

The Saint 1963 - 1969 (TV Show)

Writer
Actor (1)

Cameraman: The Life and Work of Jack Cardiff 2011 (Movie)

Himself (Actor)

Biography

Freddie Francis started his career as an apprentice to a still photographer and at age 17 began in motion pictures as a clapper boy. His first shot at cinematography came with the British Army Kinematographic unit during World War II, but after the war he returned to feature films as a camera operator, working with such seminal figures as Michael Powell and Emeric Pressburger, John Huston and Zoltan Korda. Francis did the second unit photography on John Huston's "Moby Dick" (1956) and shortly thereafter graduated to director of photography on "Hell for Korea" (also 1956). He won applause for his work on Joseph Losey's "Time Without Pity" (1957) and for his gritty photography for "Room at the Top" (1958). His Oscar-winning work on "Sons and Lovers" (1960) was at the same time dark and rich, with delicious grey hues.

Relationships

Kevin Francis

Son
founding director of Tyburn Films

Pamela Mann

Wife

Milestones

1999

Served as director of photography on "The Straight Story", directed by David Lynch

1996

Directed "Last Respects" episode of the HBO series "Tales From the Crypt"

1991

Shot remake of "Cape Fear", directed by Martin Scorsese

1989

Earned second Best Cinematography Oscar for "Glory"

1982

Served as cinematographer on the NBC drama "The Executioner's Song"; film was released theatrically in Europe

1980

Returned to working as a director of photography on David Lynch's "The Elephant Man"

1963

Helmed episodes of the syndicated series "The Saint"

1962

Directed first feature "Two and Two Make Six"

1960

Won first Academy Award for his cinematography on "Sons and Lovers"

1958

First screen collaboration with Jack Clayton, "Room at the Top"

1956

First film as director of photography "Hell in Korea"

1956

Won attention for his second unit photography of "Moby Dick", directed by Huston

1947

Began as camera operator with "The Macomber Affair"

1939

Served in the British Army; was a member of the Army Kinematographic Unit

1936

Joined Gaumont-British as clapper loader

1934

Hired as a clapper boy at British International Pictures

1932

Began career as apprentice to still photographer

First worked under John Huston on "Moulin Rouge" (1953) and "Beat the Devil" (1954)

Moved to Pinewood studios as camera assistant

Bonus Trivia

.

"Although I love working, I won't work on a film unless I meet with the director and realize that he really wants me to do his movie. I have an arrangement with my agent that if anybody asks me to do a film, first of all, obviously we demand to see the script. Secondly, my agent asks if they are seeing anybody else in connection with this movie. If they say yes, he says, 'Well, Freddie doesn't want to do it.' I'm not saying every director has to have me on his movie, but any director who does has got to want me and nobody else." --Freddie Francis in FILM JOURNAL, September 1996

.

"I'm not a camerman. I'm the director's collaborator. Another thing, a corny old thing I keep saying, but about which I'm very sincere, is that there are three kinds of photography in movies. There's good photography, bad photography, and there's the right photography. Sometimes, to do the right photography you have to do what is almost, to a dyed-in-the-wool cameraman, bad photography . . . Sometimes you have to tone down your approach to become a collaborator on the movie." --Freddie Francis in FILM JOURNAL, September 1996

.

"I suppose I can say I slightly regret all the horror things I directed, but I didn't regret them at the time, because I enjoyed making them . . . To be quite honest, the standard of films I've photographed, both in terms of quality and money spent, are very different from the films I've directed. If I could direct some films with the same budgets as those I've photographed, I'd prefer directing. But I realize how lucky I was to have two hats to wear." --Francis in FILM JOURNAL, September 1996

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